If it isn’t their debut, most artists save their self-titled record for a mid-career stripping back of the façade of stardom to present their real selves on what all of their press materials promise will be “their most personal album yet.” While it’s only his second full-length, S. Raekwon takes that idea beyond the realm of cliché by presenting us with a set of songs collectively taking his given name, Steven, as he lyrically paints as honest and detailed a portrait of himself as one can, all while producing, engineering, and mixing the resulting 10 songs—on which he performed everything but percussion—all by himself.
With that hunger for personal storytelling still evidently quite insatiable, Raekwon is helping to get us excited for the new release with a three-part playlist he crafted that weaves through three fairly distinct—though oftentimes overlapping—moods: mania, loneliness, and deep affection. Additionally, the collection of songs he put together below doubles as a list of inspirations on Steven and the S. Raekwon project more broadly, as he notes the influence of Sly Stone’s DIY recording style, Dijon’s live shows, and Bette Midler’s intimate songwriting, while even shouting out TV on the Radio for encouraging him to pick up a guitar in the first place.
With Steven set to arrive tomorrow via Father/Daughter Records, get a sense for what’s in store with the playlist below. You can also pre-order the record here.
PART 1: FOR WHEN YOU WANT TO FEED YOUR MANIC ENERGY
D’Angelo and the Vanguard, “Ain’t That Easy”
D’Angelo is the North Star for me in terms of inspiration, and Black Messiah is my favorite album of his. I find myself listening to it more than Voodoo. A lot of the neo-soul stuff that D’Angelo is tied to is really slick and smooth. This record subverts those expectations with sporadic yelps, heavy vocal manipulation, chugging guitars, and molasses production.
Sly & the Family Stone, “Luv n’ Haight”
When I first heard Black Messiah I remember thinking, “Where the hell did this come from?” Then I discovered Sly’s There’s a Riot Goin' On and it all made sense. I love how claustrophobic it sounds. I was immediately struck by “Luv n’ Haight,” the first song on the record. It feels like every inch of the sonic spectrum is filled with some type of noise. It sounds like a live jam session, but Sly recorded it largely alone in his home studio. I took inspiration from that philosophy when making Steven, which I recorded in the living room of a house.
Dijon, “Many Times”
I love how textured and gritty Dijon’s voice sounds here. The whole song feels very physical. Watching him play live really inspired my own approach to performing. When I play, I try to be in the moment and let my face and body do what they need to communicate the feeling of the song. Performing is very physical for me. One of the goals of Steven was to find ways to incorporate elements of the live show into the sound and aesthetic of the record, which is something Dijon does really well.
Mk.gee “New Low”
This sounds like Jai Paul covering Bon Iver produced by Grouper. Which is to say, this is the best thing I’ve heard this year. I appreciate how Mk.gee is doing something fresh and unique with the guitar. I was a guitarist before I was a singer or songwriter, so Mk.gee’s approach to guitar and sound design really hits home.
PART 2: FOR WHEN YOU’RE ALONE AND FULL OF REGRET
Sufjan Stevens, “The Only Thing”
Devastating, heartbreaking, beautiful. I love this record so much. For how “sad” it is, there’s a comfort in listening to Sufjan process grief and loss in such an honest and vulnerable way. It’s such a deeply human record that, despite how personal the lyrics are, it still feels universal.
Lomelda, “Talk”
M for Empathy came out at just the right time for me and it really knocked me out. It doesn’t overstay its welcome. It’s simple, direct, and honest.
Grouper, “Headache”
When I first heard Grouper, it marked a paradigm shift. I immediately threw all of the notions I previously held about what music could be out the window. Grouper is a pantheon artist for me, but this song is a bit of a sleeper pick in her catalog. I generally prefer her piano-based records—Ruins and Grid of Points are my favorites. But in terms of a standalone song, I find myself returning to “Headache” the most.
Frank Ocean, “Moon River”
I could have chosen any number of Frank Ocean songs. But this one in particular fills me with a sense of longing for something that I can’t quite articulate. There are words, and then there’s how you sing those words. Frank is a master of both, but the latter is what really makes this song special.
PART 3: FOR WHEN YOU WANT TO CELEBRATE YOUR LOVE
Hovvdy, “True Love”
I love Hovvdy. Their songs are earnest without being cheesy. My fiancée and I love to travel. And whenever we take a road trip, we usually find ourselves listening to this record at some point.
TV on the Radio, “Lover’s Day”
Discovering TV on the Radio as a young Black kid interested in guitar music felt like a revelation. My aunt put me onto Dear Science when it came out. I must have been in middle school at the time. It’s one of the first records I remember having on my iPod. I forgot about this record for a while. I recently put it on and this song blew me away. The vulnerability is stunning. The way it encapsulates intimacy without being performative is truly incredible. The last minute and a half is magic.
Whitney Houston, “I Wanna Dance with Somebody (Who Loves Me)”
Is this a love song? Is this a sad song that just sounds like a love song? I’m not sure. But when it’s 1 a.m. and you’re belting this at the top of your lungs while dancing with your partner, then it doesn’t really matter what it was intended to be. Because in that moment, it feels like the truest expression of a love song that there ever was.
Bette Midler, “The Rose”
The last song on my album is called “Katherine’s Song.” When I was writing it, I really leaned into the idea that the song might not mean anything to anyone except for me and Katherine. Similarly, there’s a story behind “The Rose” and why it’s important to me. But kinda like “Katherine’s Song,” that story is just for me and her to know.
